A few weeks ago, we issued a challenge to the DPReview community to show us your best bird photos in honor of World Migratory Bird Day. Over 270 of you submitted images of birds in flight, at home, hunting for dinner and more.
We love seeing your work! Thanks to everyone who submitted. We couldn't call out every image we liked and tried to restrain ourselves to our favorite baker's dozen (in no particular order).
If you don't see your work here today, please don't call fowl on the play. We encourage you to submit for our next challenge.
Also, a quick reminder to keep comments constructive and civil. To be blunt, it's one thing for editors to receive harsh comments, but it's another threshold to be rude to people not on our staff who want to make some images and share their work. Rule #1: Be nice. That's it, there is no rule #2.
Male Snowy Egrets displaying at dawn in the marsh
By: kipsneddon
Caption: Taken just after dawn on 05/15/2024 in the Scarborough Marsh in Scarborough, Maine USA. Image is of two male Snowy Egrets displaying to decide who is dominant.
Nikon Z9 | Nikon Nikkor Z 800mm F6.3 VR S | 1/800 sec | F6.3 | ISO 1000
Thank you to everyone who participated. Seriously, how amazing is it to see our fellow DPReview reader's work? To see all the entries for yourself and vote for your favorites, head over to the challenge now. The complete shooting specs and gear used for each photo in the challenge platform can also be found in the challenges gallery.
If you couldn't participate in this editors' challenge, keep an eye out for our next one. We'll be doing more during the year as we celebrate 25 years of DPReview. Speaking of which, do you have a suggestion for an Editors' challenge? In the comments, let us know what to do for our next one.
13 on Natural Light: Whether you’re capturing the golden glow of sunrise, the harsh shadows of midday, or the soft, diffused light of an overcast day, these cheat sheets will equip you with the knowledge and techniques to take advantage of natural light in any situation.
7 on Artificial Light: Navigating the complexities of artificial lighting presents a unique set of challenges for photographers, from beginners to seasoned professionals. Artificial light, unlike its natural counterpart, requires a deeper understanding of light intensity, color temperature, and direction to achieve the desired effect.
4 on Flash Photography: Flash photography, while immensely powerful, introduces a spectrum of challenges that can test even the most experienced photographers. The primary hurdle lies in mastering the balance between the flash’s intensity and the ambient light, ensuring that the final image looks natural rather than overpowered by harsh lighting.
11 on Portrait Lighting: Mastering portrait lighting techniques is an art form that presents its own set of intricate challenges. Each style demands a precise understanding of light placement, shadow control, and subject orientation to achieve its signature effect. Photographers must navigate these complexities, blending technical precision with creative vision, to capture portraits that not only illuminate but also reveal the essence of their subject.
8 on Lighting Effects: Lighting effects are the brushstrokes of the photographer’s palette, offering endless possibilities to infuse images with emotion, depth, and atmosphere. The artful application of lens flares can add a cinematic quality, imbuing shots with a sense of story and timelessness, while the deliberate use of starbursts around light sources can create a sense of wonder and energy. Bokeh, with its soft, out-of-focus lights, transforms the mundane into the magical, drawing the viewer’s attention to the intended subject with a gentle, enveloping embrace. Mastering these effects requires not only a technical understanding of photography and lighting but also a creative vision that sees beyond the subject to the very essence of the scene. Through lighting effects, photographers can sculpt light, craft ambiance, and convey emotions, turning simple images into captivating stories.
New Hobolite Iris small continuous LED light for photographers inspires creativity through its vintage camera design, unique optical modifiers, aperture ring and playful colored gel filters.
NEW YORK, May 15, 2024 /PRNewswire/ -- Hobolite, a pioneer in continuous LED lighting equipment for content creators, announces the launch of its latest innovation, the Hobolite Iris. The Hobolite Iris is a small portable continuous LED light for photography and content creation that features optical modifiers and colored gel filters that spark creativity and joy in the art of visual storytelling. With its stylish retro camera design, weather-resistant aluminum body and versatile optical modifiers - including functioning aperture ring - this new bi-color portable light elevates the artistic process through innovation and the playfulness of creativity.
The Hobolite Iris stands out with its sleek IP54-rated aluminum body, wrapped in an attractive vegan leatherette, making it an ideal companion for both indoor and outdoor use. Its unique aperture ring empowers photographers and content creators to adjust from a focused beam to a wide glow, to light stories with precision and style - anywhere and anytime.
The Iris features remarkable color accuracy, with a color range from 2700K to 6500K and high CRI and TLCI ratings of 96+, ensuring that colors are rendered true to life. With the introduction of innovative optical modifiers, a magnetic accessory system, and a built-in battery, the Iris further enhances the experience of shaping moments with light, allowing for extended creativity without the need for constant recharging.
"As creators, our journey begins within ourselves—embracing our vision, our voice," states Helena Bian, Founder and CEO of Hobolite. "With the new Hobolite Iris, we empower creators to explore the magic of light and its impact on the creative process. By aligning the aperture of our lens with the iris of our artistic vision, we paint with the integrity of our own inner light."
The new Hobolite Iris light is available in two kit options to optimize creativity, right out of the box. The Iris Standard Kit contains the Iris light, Adjustable Lens, Frosted Dome, USB cable, V-Mount Plate and stylish protective pouch. The adjustable lens offers versatility with a range from 20 degrees to 45 degrees, complemented by enhanced brightness capabilities that provide a 6x brightness boost for exceptional illumination.
The Iris Creator Kit comprises all the elements featured in the Standard Kit, and features an Aperture Ring, Gel Filters, Magic Lens, Fresnel Lens f/28mm, Adjustable Lens and Frosted Dome.
In addition to the Iris LED lighting kits, Hobolite has also introduced accessory kits for photographers who require additional sets of the modifiers and filters featured in the Creator Kit. Iris Optical Modifier Kit comprises the Fresnel Lens F28mm, Aperture Ring, Magic Lens and is priced at $99.00, while the Colored Gel Filter Essential Pack comprises four gradient color gels inserts priced at $59.00.
The Hobolite Iris Creator Kit and Standard Kit are priced at $199.00 and $99.00 respectively and are available starting May 24th at www.hobolite.com and through authorized retailers.
The LUMIX S9 compact full-frame mirrorless camera is the ultimate tool for content creators looking to stand out in social media, with superior image quality, easy-to-use functions, and a sleek, colorful design. REAL TIME LUT applies signature presets directly in-camera with super-fast sharing through your phone with the LUMIX Lab app. The full-frame sensor allows for exceptional image clarity even in low light and frames for any social media aspect ratio.
Features:
24.2MP full-frame sensor
Real-time recognition AF with PDAF
6.5-stop 5-axis dual IBIS
6K Open Gate 30p/25p/24p
Human/Animal/Car/Motorcycle AF detect.
Active I.S. ensures highly stable video
Revolutionize Your Content: In-camera REAL TIME LUT presets for standout social media
Quick and Easy Sharing: Seamlessly transfer to smartphone with LUMIX Lab and ultra-fast Wi-Fi
Think Big, Pack Small: Compact camera packed with professional-grade features
Stunning Results Even in Low Light: Full-frame sensor for high-res videos and photos
One Shot, All Aspect Ratios: Flexible framing covers every format in heightened detail
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Product images by Dale Baskin/Mitchell Clark
The Panasonic Lumix S9 is the newest addition to Panasonic's line of full-frame mirrorless cameras, though it differs considerably from previous models. It's the first in the series to diverge from the traditional DSLR form factor. More significantly, it's the first full-frame Lumix camera aimed squarely at social media content creators.
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The basic premise of the S9 is that it's designed to simplify and speed-up the social media workflow. The goal is to allow content creators to generate photos or videos ready to publish straight out of the camera without additional editing in other applications.
Key specifications
24MP BSI CMOS sensor with on-sensor phase detection
4K 3:2 open-gate video in 25 or 30p (4:2:0 10-bit) with new 'MP4 (Lite)' codec
6K 3:2 open-gate video at up to 30p (4:2:0 10-bit)
6K or DCI/UHD 4K from full sensor width up to 30p
DCI/UHD 4K up to 60p (with APS-C crop)
Dedicated LUT button to apply LUTs in real time (photos and video)
Tight integration with the new LumixLab smartphone app
Dual conversion gain sensor with explicit 'Dual Native ISO' gain selection
UHS-II card slot
1.84M dot fully-articulating LCD
The Lumix S9 will be available from the end of May 2024 at a suggested retail price of $1499. Four color options are available: night blue, dark olive, crimson red and jet black.
Alongside the S9, Panasonic also announced a new L-mount lens designed to pair with the camera. The Lumix S 26mm F8 is a fixed-aperture, manual focus 'pancake' style lens with a suggested retail price of $199.
Under the hood, the Panasonic S9 is largely the same camera as the Panasonic S5II. However, by necessity, it omits some of that camera's hardware features in the interest of size, including an EVF, a second main command dial, a joystick, a second card slot and an integrated fan. And while the two cameras share a common technology platform, the S9 is not intended to be a more compact version of the S5II: the cameras have very different design philosophies and are aimed at different types of users.
Social media-focused workflow
The S9 is specifically designed with a social media workflow in mind. This means providing social media creators with the tools necessary to generate a unique, signature look to their photos and videos straight out of the camera without requiring any editing skills. Panasonic describes this as the ability to "Shoot, edit and share in 30 seconds." While 30 seconds may be a bit optimistic, it's important to understand that this social media workflow underpins the camera's features and design choices.
In essence, the S9 is intended to provide social media creators with a camera-to-social-media workflow that can be executed quickly and easily, wherever they may be, without relying on a computer or any third-party software. Although the camera can support an enthusiast photographer's workflow, it's not optimized around that use case in the same way as a camera like the S5II and lacks features that dedicated photographers are likely to value, such as a dedicated viewfinder, a second command dial and direct controls for features such as AF mode and area.
Expanded use of 'Real Time' LUTs
A core feature of the S9's social media workflow is Panasonic's 'Real Time' LUT system, first introduced on the S5II. This does more or less what it sounds like: it lets you instantly apply a look-up table (LUT) color transformation to a photo or video as they're captured to provide a custom look that would otherwise require additional editing to achieve.
LUTs have been a standard method of applying color transformations in the video world for years, but Panasonic has expanded their use to broadly apply to both stills and video. It promises that this LUT-based workflow will let you skip the editing step entirely because you can use LUTs to achieve whatever look you want straight out of the camera.
LUTs are such an essential part of the S9's identity that it has a dedicated LUT button next to the AF-On button on the back of the camera. Tapping this button allows you to quickly cycle through all the LUTs loaded into the camera to select the look you want to achieve.
The S9's Real Time LUT feature allows you to generate custom looks straight out of the camera.
In addition to a dedicated LUT button, the camera improves upon the system found on the S5II in several ways. The S9 can store up to 39 LUTs in memory, up from ten on the S5II, and LUTs can now be applied to any of the camera's photo styles; previously, LUTs could only be applied to the V-Log style. Users now have the ability to control LUT opacity, ranging from 10-100%, and it's even possible to apply two LUTs at once by creating a 'My Photo Style', which lets you choose a base photo style and apply one or two LUTs on top of it.
The result is a virtually limitless combination of looks that can be created and stored in-camera for quick access at the touch of a button.
New LUTs can be added to the camera quickly and easily using a companion smartphone app, though it's also possible to add a LUT in .cube or .vlt format from an SD card if desired.
LumixLab app
Alongside the S9, Panasonic is launching a new smartphone app called LumixLab, specifically intended to support the S9's social media workflow. Unlike most smartphone apps for cameras, which serve as an optional tool, LumixLab is fundamental to the S9 user experience, to the point that the camera's headline feature of using real time LUTs depends on it.
The LumixLab app allows to create and manage LUTs on your camera.
LumixLab allows you to apply LUTs to photos and to manage the LUTs installed on your camera. However, the real power of LumixLab is the ability to quickly and easily create your own custom looks and generate custom LUTs based on those looks. The app includes various editing tools, including exposure, color, HSL, tone curve, split toning, sharpening, noise reduction, sharpness, and even simulated film grain. If you edit an image or video clip and get a look that you want to reproduce in the future, you can instantly save a custom LUT based on your edits and load it into one of the camera's 39 memory banks.
The idea is to allow you to create a signature look that you can automatically apply to any media you capture in the future simply by selecting your custom LUT using the camera's LUT button.
LumixLab also includes a library of ready-to-use LUTs, including LUTs created by Panasonic and LUTs shared by other social media content creators. This means you have many creative options to choose from, even without having to make LUTs yourself.
It's worth noting that LumixLab doesn't replicate all of the features of Panasonic's existing Image App, such as the ability to control your camera remotely. Panasonic tells us the two apps will coexist for a while but that it eventually plans to merge them. LumixLab will be available for download from the Apple App Store and Google Play Store on May 29.
4K open-gate recording and MP4 (Lite) codec
The S9's default video mode is 4K open-gate video, downsampled from 6K, using the entire area of the camera's sensor rather than a 16:9 region, as most cameras do. This makes it easier to generate horizontal and vertical video from the same master clip but with smaller file sizes that transfer more quickly to a smartphone than full-resolution 6K open-gate video. Interestingly, this default mode supports 25p and 30p recording but not 24p.
This default video mode uses a new codec, which Panasonic calls 'MP4 (Lite)', which records at 50 Mbps. This may seem low compared to the higher bit rates we've become accustomed to in recent years, but it significantly speeds up transfers between the camera and smartphone and is probably sufficient for most social media, where video is heavily compressed for streaming.
Aspect ratios
Frame rates
Bit-depth
Chroma
Max bitrate
6K Open gate 3:2, full width
3:2
29.97, 25, 24, 23.98
10-bit
4:2:0
200
4K Open gate 3:2, full width*
25, 30
50
6K full-width
16:9, 1.89:1
29.97, 25, 24, 23.98
200
4K full-width
4:2:2
150
4K APS-C
59.94, 50, 29.97, 25, 24, 23.98 (48, 47.95)
200
*Open gate 4K recording is the default video mode for camera
The default video mode even gets its own slot on the camera's Q menu, separate from all other video settings. You still have access to most of Panasonic's other video settings, right up to 6K open-gate video, but you'll need to switch out of the default video mode to use them.
Similarly, you get access to Panasonic's excellent video features like waveform monitor, shutter angle, zebras, Log view assist, record frame indicator, and the other usual suspects. However, the camera does have a 15-minute recording limit.
How it compares
Panasonic's pitching this camera squarely at creators who are still mainly shooting with their phones. If it wants the S9 to woo them, it has to do two things: be almost as convenient to carry around and shoot with as a phone, while producing much higher-quality images. The camera's compact size, along with the revamped app, are plays at making it convenient, while its full-frame sensor should provide enough raw photo and video quality to stand out in a crowd of smartphone images.
Of course, the S9 isn't the only choice for creators looking to step up to a dedicated camera. Sony's ZV-E1 is a direct rival that's focused on meeting the needs of creators. We've also included the Panasonic DC-S5II, the company's more photographer-friendly model underpinned by similar hardware.
Finally, the Sigma fp is admittedly a slightly left-field comparison but its lack of viewfinder, reliance on electronic shutter and use of the same sensor makes it an interesting point of comparison.
Panasonic S9
Sony ZV-E1
Panasonic S5II
Sigma fp
MSRP
$1499
$2200
$1999
$1899
Pixel count
24MP
12MP
24MP
25MP
Viewfinder (Res/Mag)
N/A
N/A
3.69M dot OLED, 0.76x
Optional
Rear Screen
3.0" 1.84M dots, fully articulating
3.0" 1.04M dots, fully-articulating,
3.0" 1.62M dot, fully-articulating
3.2″ 2.1M dot, fixed
Image stabilization
Body: 5EV
w/lens: 6.5EV
Body: 5EV
Body: 8EV
w/lens: 8EV
N/A
Cont. shooting rate
30fps e-shutter
10fps e-shutter
30fps e-shutter 7fps mech (AF-C)
18fps e-shutter
Mechanical shutter
No
No
Yes
No
Video resolution
6K 3:2 <30p
6K/5.9K <30p
4K 60p (APS-C)
4K <30p (full width)
4K <60p
1080 <120p
(4K <120p, 1080 <240p via f/w*)
6K 3:2 <30p
6K/5.9K <30p
DCI/UHD <30p
DCI/UHD <60p (1.5x crop)
4K <30p
1080P <120p
Video bit-depth
10 bit with HLG and Log
10 bit with HLG and Log
10 bit with HLG and Log
12 bit Cinema DNG
Mic/Headphone sockets
Yes / No
Yes / Yes
Yes / Yes
Yes / Yes
Card slots
1x UHS-II
1x UHS-II
2x UHS-II
1x UHS-II
Battery life (CIPA) LCD / EVF
470
570
370 / 370
280
Weight
486g (17.1 oz)
483g (17oz)
740g (26.1oz)
422 g (14.89 oz)
Dimensions
126 x 74 x 47 mm
121 x 72 x 54mm
134 x 102 x 90mm
113 x 70 x 45 mm
*A free firmware upgrade is required to access 4K/120 shooting on the ZV-E1
For its price and size, the S9 has a pretty impressive spec sheet for a mid-level camera, largely owing to its high-res, full-frame sensor, and its ample video features. The company's stabilization tech and autofocus are also competitive, though Sony still holds the crown in the later category.
Which makes the comparison with the Sony ZV-E1 interesting. It too aims to make creators' lives easier, but through different means. The S9's forte is making it easy to find or create a look for your images, while the ZV-E1 is tuned to make filming yourself easier. Its "Auto Framing" feature will automatically crop your video so that it follows your subject and it includes a "product showcase" mode that'll specifically focus on items that you're holding up to the camera, both making it suited to single-person operation. Its sensor is also better matched for video, so it can record 4K at 60fps without any crop or 120p with a slight crop.
That sensor's lower megapixel count puts the ZV-E1 at a disadvantage when it comes to shooting photos, though, and while it does have its own custom LUT feature, it's mostly focused on video instead of photos. The MSRP is also substantially higher than the S9's.
The S9's focus on creators means there are plenty of features that could push enthusiast and more photo-focused buyers towards more expensive cameras like the S5II. The S9's bigger cousin has a second SD card slot and, of course, an EVF. It's also better-equipped for video, with a full-size HDMI port versus a fragile micro one and a dedicated headphone socket (with the ability to record to an SSD on the more expensive S5II X model). The S5II's extra features come at a cost though, both figurative and literal; it's over 50% heavier and its MSRP is $500 higher than the S9's, both factors that could be dealbreakers for on-the-go content creators or people who are just starting out.
Body and handling
The S9 has a very sleek design, reminiscent of old rangefinder film cameras. Its face is a mostly flat surface, a leatherette cover that comes in four colors. (Real ones too; it's nice that Panasonic hasn't skimped on saturation like many gadget-makers are these days.) Unlike Panasonic's higher-end offerings, the S9 doesn't have any programmable buttons up front.
The camera is relatively compact for housing a full-frame sensor; it's smaller and lighter than Panasonic's four thirds-equipped G9II. However, the S9 is still not a small object, and we felt its thickness, rounded edges, and lack of ergonomic affordances made it difficult to confidently shoot it one-handed, like you can with cameras like the S5II or GH5II. Its surface finishes are relatively slick, and it doesn't have any front grip to speak of. (There is a leatherette-covered thumbrest, but it can only do so much.)
At the top of the camera is the mode dial, along with a programmable command dial that runs around the shutter button. There's also a programmable red button that, by default, will start recording video even if you're in a photo mode, though in a limited set of resolutions and framerates. (It'll start recording in MP4 Lite, standard MP4, or MOV, but you'll have to switch to video mode to shoot above 4K.) Finally, there's a cold shoe mount, which could be useful for accessories like vlogging microphones or on-camera lights as long as they can provide their own power.
Moving to the back of the camera, there's the flip-out touchscreen, which is the S9's only display. Unlike most other cameras in the current Lumix S or G lineup, there's no EVF to be found. The display is also the main way to select your focus points, as there's no joystick or directional pad. It's responsive, crisp and clear at 3.0" and 1.84 million dots (960 x 640px), but it's susceptible to glare even on relatively overcast days.
Above the display, you'll find the LUT and AF On buttons, both of which are programmable and easy to reach while shooting. Down to the right is the control wheel, along with the rest of the camera's buttons. We found the dial to be quite sensitive, which limited our choices while choosing its function; it's no fun looking down at your camera and discovering that you accidentally changed to a black and white photo style, or adjusted your white balance.
That sensitivity does help you zip around menus, but it doesn't make it any easier to use the wheel when you're one-handing the camera. It's placed such that you'll have to remove your thumb from the thumbrest to make adjustments, something that will almost certainly unbalance the camera unless you're supporting it with a second hand.
Photographers that spend most of their time in manual mode, or who ever want to control their primary parameter while also having access to exposure compensation, will probably wish for an extra command dial, and those who hate diving into menus will likely want an extra programmable button or two. However, it's definitely possible to get by with the controls included on the S9, especially if you take the time to customize the Q menu and "My Menu" systems. The main menus of the camera are also reasonably easy to navigate, and you can control them with either dial, or using the touchscreen.
Battery
The S9 uses Panasonic's 16 Wh DMW-BLK22 battery, the same one found in the S5II, G9II, and GH5II. It's rated to give you around 470 shots per charge, though as always that number is likely well below what you'll get during real-world use. That's quite a good showing, especially for a camera of this size; that's enough power that most photographers could head out for a weekend of shooting without worrying about bringing a second battery, unless you plan on shooting a lot of video.
The S9 doesn't come with a power adapter or battery charger, but it has a USB-C port that you can use with standard charging bricks. According to Panasonic, you should be able to keep it topped up with a battery bank, provided it and your USB cable support outputting at 9V at 3A.
Initial impressions
By Dale Baskin
The Lumix S9 is a significant departure from Panasonic’s previous full-frame mirrorless cameras, not only in terms of its physical design but also the entire design philosophy behind the camera. After using it for a week, I feel like I’ve developed a pretty good sense of not only what the camera is but also what it isn’t. And that’s an important distinction.
If you learned photography on a dedicated camera, chances are the S9 wasn’t designed for you... if you learned photography on a camera that could also make phone calls, it’s entirely possible it was
It’s tempting to look at the S9 and see a more compact version of the S5II. (Or, possibly even a supersized version of the Lumix GM1, a tiny Micro Four Thirds camera from a decade ago.) It’s a stylish camera, and the technology underpinning both models is essentially the same. But don’t let the rangefinder-esque styling and slightly retro looks fool you: the S9 is a very different camera than the S5II, designed for people with different priorities.
In fact, if you learned photography on a dedicated camera – possibly even one with a passing resemblance to the S9 – chances are pretty good that the S9 wasn’t designed for you. You might wish it were, but it’s probably not. On the other hand, if you learned photography on a camera shaped like a flat slab of glass that could also make phone calls, it’s entirely possible this camera was made for you.
I found the S9's LUT-based workflow worked pretty well, and it was generally quick and easy to use. It only took about five minutes to create my first LUT and install it in one of the camera's memory banks for quick access.
Panasonic says it expects people to use it for photos as much as they will for video. However, if you’re looking for a traditional photo shooting experience, you’ll likely find the camera’s design frustrating.
There’s no EVF, which purist photographers will surely miss, and it can be a real challenge to use the LCD outdoors in bright light. It lacks a second command dial and has few custom buttons, so you’ll go menu-diving to change settings, and the lack of a mechanical shutter limits its ability to use flash and could introduce rolling shutter artifacts. As attractive as the camera is, carrying it around like a stills camera for long periods is fatiguing. It’s telling that at the launch event in Osaka, Panasonic provided members of the media with an accessory grip made by SmallRig that screws into the camera’s tripod socket.
As much as it looks like it might be designed for enthusiast photographers, its superpowers lie elsewhere.
The story is different as a tool for social media creation. We’ve seen plenty of cameras that claim to be made for social media users, including from Panasonic itself, but it’s often not entirely clear what value those cameras have added to a content creator’s workflow.
What I appreciate about Panasonic’s approach with the S9 is that it didn’t simply create a new camera with a selfie screen and declare it to be the perfect social media camera, mostly “Because we said so.” Instead, Panasonic seems to have made a pretty good attempt at understanding a real workflow issue that makes it challenging for social media creators to adopt a dedicated camera for their work.
I captured this photo using the S9's Standard color style, made some adjustments in LumixLab to create a slightly nostalgic look, and exported my settings as a LUT to the camera. Once I had done that, I was able to capture additional images with the same look simply be selecting my custom LUT in the camera.
Most social media content creators aren’t worried about the same things as enthusiast or professional photographers. They’re less concerned about resolution and dynamic range than they are about being able to create something with a unique look straight out of the camera and getting it online quickly, no matter where they are. Providing a workflow that allows them to do that, without having to do any additional editing, goes a long way to solving that problem.
The S9 costs $1499, about $500 less than the S5II, and while they're very similar from a technology perspective, the choice between them isn’t as much about price as it is about the problem you’re trying to solve. If you’re a purist photographer looking for a traditional camera experience and workflow, the S5II has you covered. But if you’re the type of person whose priorities include an efficient workflow for social media with as little post-production as possible, the S9 could be a good fit.
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Image: Panasonic
Alongside the S9 social media camera, Panasonic has announced the 26mm F8, a manual focus, fixed aperture lens for the L-mount system. It's also said it will release a compact 18-40mm F4.5-6.3 zoom lens for L-mount "soon."
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The company refers to the 18mm-deep (0.71") lens as a "pancake" lens, but its stripped-back feature set reminds us more of Olympus's 15mm F8 "body cap" lens for the Micro Four Thirds system.
This impression is reinforced by the lens not accepting lens caps or filters and instead having a protective element across the front, which is not part of its design's optical formula, suggesting it's designed to withstand being left on the camera.
The Panasonic design is a little wider than the Olympus and has significantly shallower depth-of-field than the F16-equiv behavior of the 15mm on Micro Four Thirds. As a result it has to have a short-throw focus ring, rather than the close-focus/1.5m–infinity switch on the older lens.
Image: Panasonic
The Lumix S 26mm F8 weighs just 58g (2.0oz) and will retail for a recommended price of $199. We also expect it to be bundled with the S9 without adding significantly to the cost of the kit.
Panasonic also said it will be launching an 18-40mm F4.5-6.3 compact zoom lens soon. The only detail given about the ultra-wide to fractionally-wide-of-normal zoom is that it will focus down as close as 0.15m (5.9").
Its short range and relatively modest aperture range will presumably see it act as a low-cost alternative to the $1500 Lumix S 16-35mm F4, rather than a rival to the $600 20-60mm F3.5-5.6.
Press Release:
Panasonic Introduces LUMIX S Series Fixed Focal Length Pancake Lens: LUMIX S 26mm F8 (S-R26)
Newark, N.J. (May 22, 2024) – Panasonic is pleased to announce the new LUMIX S 26mm F8 (S-R26), an incredibly compact and lightweight lens designed to be the perfect match to the new LUMIX S9 camera body. Despite its slim profile, the 26mm features the superior design, high resolution, and outstanding image quality for which LUMIX has become known for.
With a focal length of 26mm, a fixed F-stop of F8, and manual focus only, this new pancake lens is designed for the simple enjoyment of manual shooting with creative composition and exposure. Perfect for spontaneously capturing fleeting moments, the 26mm delivers unique results compared to the existing line-up of LUMIX S Series wide-angle, fixed focal length lenses.
Main Features
The fixed focal length pancake lens in the LUMIX S Series
Manual focus allows creators to take full control of their own personal style of content creation
The lens has a wide angle of 26mm and a fixed F-stop of F8
Enjoy unlimited creative possibilities from pan-focusing to bokeh effects.
Compact, lightweight lens perfect for everyday
Ultimate portability with a thin and lightweight body that fits into your pocket
Easy to carry around and start shooting at a moment’s notice, making it ideal for spontaneous snapshots
Overall length of approximately 18.1mm and a weight of approximately 58g/0.13lb.
Designed to match the compact body of LUMIX S9.
･ This lens is for manual focus only, fixed at F8. The camera's AF setting and some MF assist functions cannot be used. ･ External filters cannot be attached.
The new LUMIX S 26mm F8 (S-R26) will be available for purchase in late June 2024 at valued channel partners for $199.99.
Coming soon: A new compact versatile zoom lens: LUMIX S 18-40mm F4.5-6.3
A new LUMIX S 18-40mm F4.5-6.3 lens is coming to the full frame LUMIX S Series lens line-up soon. A compact and versatile zoom lens ideal for daily use, the upcoming 18-40mm has a minimum shooting distance of 0.15m/0.49ft. This everyday lens is designed to match the LUMIX S9 and covers focal lengths from an ultra-wide angle of 18mm to a semi-standard 40mm.
The photo tour operator Capture the Atlas has announced the winners for the seventh iteration of its Milky Way astrophotography competition.
This year, the competition received 5000 entries and recognized 25 photographers working in 15 countries, from the deserts of Jordan and Oman to the landscapes of Patagonia, Australia, and other locales. Photographers captured our galaxy amid glaciers, volcanos, deserts and cities, juxtaposing the hazy band of distant stars against life on Earth.
Contest organizers say they try to recognize the "photographer whose vision, planning, and creativity bring the image to life." Since cameras can pick up things in the night sky that our eyes can't always see, planning is key to capturing the Milky Way.
You can see the winning photos right here. Let us know what you think in the comments.
And if you're feeling inspired, mark your calendars for 'Milky Way season,' which runs from February to October in the northern hemisphere and January to November in the southern hemisphere. Granted that is most of the year, but good to know for anyone thinking Winter holiday breaks were a good time to trek out. During these periods, aim to be somewhere away from light pollution and with clear skies. Higher elevations also help.
Lighting lake
Captured by Tom Rae at Aoraki, Mount Cook National Park, New Zealand.
Sky: 28mm | 17 frames at 30s | F2.5 | ISO 3200; Foreground: 28mm | 18 frames at 30s | F1.8 | ISO 6400; Including focus-stacked
Description: "The Milky Way emerges from New Zealand’s highest mountain, Aoraki/Mount Cook, on a winter night—a shot I’ve longed to capture, knowing it would encapsulate the mountains and sky elements perfectly. In rare alpine weather conditions, I embarked on a journey up the glacial valley one night. Upon reaching the lake, the scene that unfolded made me feel like I had landed on another planet. This night, among many spent documenting this incredible part of the world, stands out for me.
It embodies the dedication, sleepless nights, and the fulfillment of completing my vision. The image features icebergs in the cyan-blue glacial lake, red airglow painting the sky, and the glow of billions of stars in the Milky Way—a glimpse into the vastness beyond."
Starry Hoodoo wonderland
Captured by Stephanie Thi in Kanab, Utah, USA.
Sky: 24-105mm | 10 frames at 150s | F4 | ISO 1600; Foreground: 24-105mm | 10 frames at 6s | F5.6 | ISO 800; Including focus-stacked
Description: "This photograph represents the camaraderie within the night photography community. During the Nightscaper Photo Conference in Kanab, Utah, I had the opportunity to meet fellow photographers, many for the first time, and reconnect with others from afar. In this group, I found my people—those passionate about photography, star therapy, astronomy, and the beauty of dark skies.
Many of these individuals have become friends. Additionally, this trip marked my first encounter with hoodoos. Visiting the Toadstool Hoodoos with a group, I focused on enjoying the experience and fellowship rather than solely capturing the perfect shot.
However, I returned the following night to capture a blue hour foreground shot, aiming to replicate the scene from the previous night. Sharing this photograph and being recognized among such talented photographers is a privilege."
A clear welcome
Captured by Francesco Dall’Olmo in Laguna de los Tres, Patagonia, Argentina.
Sky: 12mm | 6 frames at 25s | F2.8 | ISO 5000; Foreground: 12mm | 6 frames at 30s | F4 | ISO 5000
Description: "This was the first photo I took in Patagonia. Contrary to expectations of cold, rain, and wind, our initial encounter with these landscapes was unusual: nearly three days of clear skies. Reaching the lagoon around 7 a.m., I immediately captured shots of the sky. Shortly afterward, I photographed the foreground, where twilight had already set in. This clear welcome gifted me with a rare photo of Fitz Roy framed by the Milky Way arch."
Blooming bottle tree
Captured by Rositsa Dimitrova in Socotra island, Yemen.
Sky: 14mm | 20s | F2 | ISO 2000; Foreground: 14mm | 6s | F13 | ISO 800
Description: "Visiting Socotra was a dream come true – it had been at the top of my bucket list for a couple of years. The night sky in Socotra is categorized as Bortle 1 on the dark sky scale – the darkest you can possibly get. But it wasn’t just the dark skies – it was the alien-looking foregrounds that truly took my breath away. The gorgeous bottle trees of Socotra are especially beautiful in full bloom. They only bloom for a few weeks in February and March, and it’s a mesmerizing sight you want to experience again and again.
I was actually 11 weeks pregnant with my second child when I visited – I must admit that camping and shooting all night were not the most fatigue-friendly activities, but all the challenges were absolutely worth it. I’m now dreaming of taking my two daughters to Socotra one day – for an experience they will never, ever forget."
Bluff hut
Captured by Rachel Roberts in Mungo River Valley, West Coast, New Zealand.
Sky: 35mm | 48 frames at 8s | F2.8 | ISO 10000; Foreground: 35mm | 38 frames at 60s | F2.8 | ISO 3200
Description: "Sometimes, the best images come completely unplanned, which is precisely what happened on this trip to Bluff Hut, nestled in the Southern Alps on New Zealand’s South Island.
Only accessible by a challenging hike or helicopter flight, I had no intention of ending up here, as I had a different shoot planned at another hut. However, with weather closing in at my intended location and no backup plan, I trusted the chopper pilot to choose the best spot for clear skies that evening. Thankfully, he didn’t disappoint, and I was able to capture the Milky Way arching majestically over the hut from one of the darkest places on the planet."
Mother juniper
Captured by Benjamin Barakat in Jebel Shams, Oman.
Sky: 12-24mm | 5 frames at 120s | F2.8 | ISO 400; Foreground: 12-24mm | 120s | F3.2 | ISO 400
Description: "The wisdom of the juniper reveals itself in its aged roots, twisted and sculpted over millennia, enduring the ravages of time and countless obstacles. Amidst the ever-changing tides of time, one constant remains: its profound connection with the night sky and the Milky Way. Their paths intertwine and converge, culminating in a perfect alignment. In that fated instance, I found myself beneath the juniper’s boughs, gazing up at the cosmic dance above, capturing its essence in the stillness of the night."
Starlight therapy
Captured by Kavan Chay in Aoraki/Mt Cook National Park, New Zealand.
Sky (RGB): 40mm | 30 frames at 30s | F1.6 | ISO 2000; Sky (Rho region): 40mm | 17 frames at 30s | F1.4 | ISO 3200; Sky (Gum nebula): 40mm | 13 frames at 20s | F1.6 | ISO 2000; Foreground: 40mm | 16 frames at 30s | F6.3 | ISO 2000
Description: "The Aoraki/Mt Cook National Park has always brought joy and interesting stories, regardless of when I visit. This occasion was no exception – my mental health was low due to some rough times, and I lacked the motivation to attempt this climb. However, I knew it was essential to kick-start my recovery.
The ascent was a struggle with 20-25kg of gear, but I managed a respectable time and enjoyed some daylight views. The night under the stars was breathtaking. Perfect nights like this make you appreciate the opportunity to witness it all. As the sun rose, tents lit up and people stirred. A resident kea decided 5am was a good time to harass a few people, which is when I captured the foreground panorama."
Desert bloom
Captured by Marcin Zajac in Goblin Valley State Park, Utah.
Sky: 15-30mm | 4 min | F2.8 | ISO 400; Foreground: 15-30mm | focus stacked at 1s | F11 | ISO 200
Description: "Wildflowers blooming in front of a group of hoodoos called the Three Sisters in Goblin Valley State Park in Utah. The park, located in a remote corner of the Colorado Plateau and away from major urban centers, yields one of the darkest skies in the country."
Caradhras – Milky Way arch above Vrsic pass
Captured by Matej Mlakar in Vrsic Pass, Slovenia.
Sky (RGB): 20mm | 12 frames at 90s | F2 | ISO 1000; Sky (Ha): 20mm | 12 frames at 120s | F1.4 | ISO 6400; Foreground: 20mm | 12 frames at 90s (+30sec and +15sec for the light of a house in bottom left) | F2 | ISO 1000
Description: "Vršič Pass is a high mountain pass across the Julian Alps in northwestern Slovenia. It is the highest pass in Slovenia, as well as the highest in the Eastern Julian Alps. It connects Upper Carniola with the Trenta Valley in the Slovene Littoral. One of those peaks is Prednje robičje (1941m), where this image was taken from. On Sunday afternoon, my friend Nino Frelih and I were still quite undecided about where to go.
I knew I wanted to capture probably the last winter Milky Way arch of the season above snow-covered peaks, and this location was a sort of last-minute idea while we were driving towards Vršič Pass. Sometimes it pays off to be a bit more spontaneous."
The celestial symphony above a high desert lagoon
Captured by Kerry-Ann Lecky Hepburn in Atacama Desert, Chile.
15mm | 25s | F2.8 | ISO 6400
Description: "One night, we embarked on an eerie 40-minute trek in the dark along a salt trail to photograph the Milky Way and one of several lagoons in the high elevations of the Atacama Desert. At 15,000 feet, it was easy to get out of breath while walking across this rugged terrain with camera gear.
Originally planned for daylight hours, we postponed the hike due to fierce winds. During the day, the lagoons typically appear bright blue with the sun shining high in the sky. To replicate this effect at night, we used a flashlight to cast a beam across the tranquil waters during a long exposure, resulting in a surreal and mesmerizing scene."
Lions den
Captured by Lorenzo Ranieri in the Atacama Desert, Chile.
Sky: 35mm | multiple frames at 30s | F2 | ISO 6400; Foreground: 14mm | multiple frames at 25s | F2.2 | ISO 8000; Including focus-stacked
Description: "This image was captured during an adventurous night on the plateau of the Atacama Desert, a potentially dangerous area due to its designation as a mountain lion reserve.
After a whole afternoon of searching for compositions, I stumbled upon this remarkable mass of rocks adorned with tufts of grass, now burnt by the harsh environment.
The area was littered with bones of small animals and footprints of a significant size, indicating the presence of wildlife not typically associated with peaceful sheep. Spending the night there was admittedly a bit nerve-wracking, but the opportunity to photograph such beauty made it worthwhile. The Milky Way’s arch, in all its splendor, rises above the pristine landscape, creating a truly mesmerizing scene."
Atmospheric fireworks
Captured by Julien Looten in Dordogne, France.
28mm | 40 frames at 13s | F1.6 | ISO 1600
Description: "Last winter, I ventured to the foot of a medieval castle in France to capture the Milky Way’s “winter” arc. Alongside the stunning celestial vault, an exceptional airglow illuminated the sky, resembling multicolored clouds. This natural phenomenon occurs due to a chemical reaction in the upper atmosphere, emitting faint light known as chemiluminescence.
The panoramic view spans 180°, showcasing the entire Milky Way arc. From left to right: Sirius and the constellation of Orion, Mars, the Pleiades, the California Nebula, Cassiopeia, the double cluster of Perseus, and the Andromeda galaxy. Capturing this image required a large panorama of 40 exposures, totaling nearly an hour of exposure time using my Canon 6D Astrodon and Sigma 28mm f/1.4 lens."
Lupine dreams
Captured by Brandt Ryder in Eastern Sierra, California.
Sky: 24mm | 3 frames at 120s | F2 | ISO 800; Foreground: 24mm | 5 focus stacked frames at 1/160 | F8 | ISO 3200
Description: "Super blooms can be a once-in-a-lifetime event. An atmospheric river in the winter of 2023 had caused record amounts of moisture to fall in the Eastern Sierra mountains and the foothills surrounding this area. The result was one of the best wildflower or super blooms on record for the state.
In May of 2023, I spent a couple of days around the iconic town of Lone Pine, California, where the lupines in the foothills were just coming into peak bloom and the skies are notoriously dark. I knew I wanted to create an image that transported the viewer into a sea of purple flowers framed by the snow-covered Sierra and the Milky Way rising above.
Although this spot was special, it was the incredible panoply of color in the night sky that I captured on this night that really elevates this image. Every time I look back at this image, I can still smell those flowers, and I’m immediately transported to this special place and time spent with special people."
The vanity of life
Captured by Mihail Minkov in Wadi Rum Desert, Jordan.
Sky: 17-28mm | 180s | F2.8 | ISO 640; Foreground: 17-28mm | 1/8 | F8 | ISO 640
Description: "The concept behind this shot is to highlight the stark contrast between the vastness of the cosmos and the minuscule nature of humanity. The composition intentionally draws the viewer’s focus to a small figure, underscoring our insignificance in the grand scheme of the universe, while the majestic Milky Way core dominates the background.
Whenever I venture out to capture the night sky, I’m filled with a sense of humility and gratitude for my existence. It’s as if my problems diminish in comparison, and I’m reminded of the immense love I have for my family and the beauty of life itself, making everything else seem trivial."
Road to Winter Paradise
Captured by Andrea Curzi in Passo Giau, Italy.
Sky: 24mm | 10 frames at 180s | F4 | ISO 840; Foreground: 24mm | 10 frames at 60s | F4 | ISO 1600; Various frames of car trails and highlight recovery
Description: "We’re at Passo Giau on the night of December 15th. Temperatures are around -8 degrees Celsius with strong winds (resulting in a lower perceived temperature). This was an overview I had long dreamed of capturing, meticulously planned from home to the field. Luck was on my side as heavy snowfall the day before left untouched terrain, allowing for pristine snow patterns sculpted by the wind.
With approximately 300° of field of view, the final image resulted from a panoramic view comprising 10 rows each for the base and the sky. For the base, I employed multi-exposure techniques in various parts of the panorama to recover highlights, along with a series of shots for the trails. Describing the sky is challenging; experiencing the cold beneath a canopy of stars is an indescribable sensation, one that must be felt firsthand."
Milky Way at morning glory pool
Captured by Jerry Zhang in Yellowstone National Park, USA.
Sky: 20mm | 30 frames at 15s | F1.8 | ISO 5000; Foreground: 20mm | 30s | F1.8 | ISO 2500
Description: "Morning Glory is a renowned hot spring within Yellowstone National Park, shaped by hydrothermal features that foster vibrant habitats for microscopic organisms. Originally azure blue like the famous Grand Prismatic Spring, human interference and pollution have turned its waters a striking green. Unlike other springs, Morning Glory remains calm, enabling the reflection of starlight at night.
In this photo, the pool mirrors Scorpius, notably Antares, against a clear dark sky and brilliant Milky Way. The high elevation and minimal light pollution enhance the celestial spectacle. On a warm summer night, I finished this photo with one hand, and with the other hand tightly gripping bear spray! But despite the fear of wildlife, it was a very enjoyable night spent alone with the stars all around."
Mungo dreamtime
Captured by John Rutter in Mungo National Park, NSW, Australia.
Sky: 24mm | 10 frames at 60s | F1.8 | ISO 800; Foreground: 24mm | multiple frames at 1s | F4 | ISO 4000
Description: "This Mars-like landscape is the shores of Ancient Lake Mungo, housing the oldest human remains outside Africa—a significant site for all humankind. Its remote location grants it a Bortle 1 sky, allowing you to stand where the first Australians once did and gaze at the same sky they beheld 100,000 years ago. The beauty of the arid, wind-carved landscape and the untouched sky is only eclipsed by the rich history of this area."
Rainbow Valley
Captured by Baillie Farley in Rainbow Valley Conservation Reserve, Northern Territory – Australia.
Sky: 40mm | 70 frames at 60s | F1.4 | ISO 640; Foreground: 40mm | 24 frames at 120s | F2.8 | ISO 2500
Description: "My recent journey to the Central Australian Outback was an incredible experience, exposing me to the harsh vastness of the outback and some of the darkest southern night skies in the world. This image captures the breathtaking scene at Rainbow Valley Conservation Reserve, where the southern Milky Way gracefully spans above a remarkable formation of colorful sandstone rocks. This area exudes a unique charm, with its vibrant hues and stunning geological formations creating a mesmerizing landscape."
Multicolored up and down!
Captured by Cari Letelier in Rainbow Valley, Atacama desert, Chile.
14mm | 65 frames at 25s | F1.8 | ISO 6400
Description: "Let me introduce you to Rainbow Valley, reminiscent of Mordor in some areas, nestled nearly 3200 meters above sea level in the Atacama Desert within the Domeyko mountain range.
Under a Bortle 1 night sky, late October offers a breathtakingly wide view of the sky vault, with zodiacal light and gegenschein joined by intense airglow. The valley boasts a unique geological makeup: a base of ochre-red clay, a strip of chalky white salt, and a topping of moss-colored volcanic tuff, showcasing a rich mineral heritage.
That night, silence prevailed, allowing us to see our shadows illuminated solely by the stars’ brightness. To capture this scene, I created a 360°x90° panorama with 65 frames using an astromodified camera and a panoramic head."
Sand path
Captured by Hugo Valle in White Desert, Egypt.
Sky: 15-35mm | 240s | F3.5 | ISO 800; Foreground: 15-35mm | 3 frames at 1/60 | F8 | ISO 200
Description: "When I saw photos of the White Desert of Egypt, I immediately knew I had to go there. It took two years until I finally made the trip. The days are hot and the nights slightly cooler, passing quickly in this captivating landscape. The night skies are among the best I have ever seen, and the whimsical rock formations, sculpted by wind and sand, make choosing subjects to photograph challenging.
For this particular photograph, I strolled around the area where we would spend the night in the afternoon, selecting a few subjects. The best part of this night, and the ones I spent in the White Desert, was the tranquility of being the only photographer in the area. It was just me, my girlfriend, the guides, and the stars, accompanied only by a small bonfire."
Saoseo
Captured by Alexander Forst in Graubuenden, Switzerland.
Sky: 35mm | 24 frames at 30s | F1.8 | ISO 1600; Foreground: 35mm | 9 frames at 1/10 | F4 | ISO 640; Reflection: 35mm | 3 frames at 8s | F1.8 | ISO 6400
Description: "This lake is one of Switzerland’s most beautiful, renowned for its striking blue color, perfect for Milky Way photography from late July. My original plan was a split shoot with an underwater housing and model Marina, but the housing broke on the first try. Fortunately, the lake offered other beautiful compositions. Situated at 2000m altitude, it gets very cold after sunset; we had forgotten our jackets in the car 1.5 hours away.
To keep warm, we walked around the lake while waiting for the Milky Way. Clouds came and went, threatening to obscure the stars, but luck was on our side. I had a clear view of the Milky Way for just 30 minutes before it vanished behind clouds again. I created two versions of this photo: a landscape version and one with Marina, available on my Instagram."
The kingdom of Perun
Captured by Tervel Kutsev in the Pirin Mountain, Bulgaria.
Sky: 20mm | 14 frames at 90s | F2.8 | ISO 800; Foreground: 20mm | 7 frames at 180s | F2.8 | ISO 2000
Description: "For its small area, Bulgaria is a country with a very diverse landscape. We have a total of 39 mountains, and one of my favorites is Pirin because of the rocky peaks that look like they were designed by man. Vihren (2914 m), the marble peak in the center of the panorama, is the highest in Pirin. Its beauty made me fall in love with mountaineering, and quite naturally, it became a favorite spot for astrophotography.
The Pirin Mountain is named after one of the most powerful gods in Slavic mythology – Perun – the god of thunder, and Vihren is considered his throne. It is an unforgettable feeling to stand under the beautiful night sky, admiring the kingdom of Perun."
The tajinaste
Captured by Maximilian Höfling in Mirador El Tabonal Negro, Tenerife, Spain.
Sky: 50mm | 90s | F4 | ISO 800; Foreground: 35mm | 120s | F4 | ISO 400
Description: "My astro adventure on Tenerife was unforgettable. The Canary Islands, particularly Tenerife, offer ideal conditions for astrophotography. In the Teide National Park, situated at an altitude of around 2000 meters, clear skies are almost guaranteed, with lower clouds shielding city lights, minimizing light pollution.
My primary goal in astrophotography is to unveil the hidden beauty of the night sky beyond the visible stars. I’m especially passionate about showcasing our galaxy, the Milky Way, in all its glory. I believe this picture achieves that goal impressively, capturing the mesmerizing brilliance of the Milky Way against the pristine backdrop of Tenerife’s night sky."
Blue lagoon under the stairs
Captured by Yuri Beletsky in the Atacama Desert, Chile.
Sky: 35mm | multiple frames at 30s | F2 | ISO 6400; Foreground: 14mm | multiple frames at 25s | F2.2 | ISO 8000; Including focus-stacked
Description: "I captured this view at one of the remote sites of the Atacama Desert in Chile. The Galactic Center was already shining high in the sky, with the Zodiacal light beautifully complementing it on the right. The blue color was as real as the stars in the sky, adding a touch of magic to the scene. It was an absolutely incredible experience!
In that moment, all I could do was capture the beauty unfolding before me. It served as a reminder of the wonderful sights that exist in the world and the endless beauty that can be found when we simply look up at the night sky. It was a moment that made me feel deeply connected to the world around me and the universe beyond."
Tombolo Milky Way
Captured by Marc Rassel at Lake Superior, Minnesota, USA.
Sky: 50mm | 18 frames at 120s | F1.8 | ISO 800; Foreground: 50mm | 18 frames at 120s | F1.8 | ISO 800
Description: "I’ve visited this spot many times, and each visit is unique. That’s the allure of Lake Superior’s shore—it constantly changes with the weather and seasons, never growing old. However, this variability poses a challenge; clear skies for extended periods are rare. Yet, everything aligned on a new moon night.
After a 4.5-hour drive north, battling the confusion of daylight savings time, I arrived just in time for the core to rise. With my gear set up, I raced against time to capture all the panels before dawn. The short darkness window in March posed another challenge.
Despite this, I managed to complete the sky frames and most of the foregrounds. The final edit required blending the foreground seamlessly as twilight approached. The result captures the beauty and serenity of Lake Superior’s shores perfectly."
With 'Generative Remove,' Lightroom users can highlight an area they want to remove, such as this person in the background, and then let Lightroom fill in that space with what it thinks should go there.
Image credit: Adobe
Adobe announced several updates to Lightroom today. Adobe Firefly, first announced in March 2023 as a beta for Photoshop users, is a generative AI tool for editing, altering and producing generative AI images. It's now coming to all versions of Lightroom.
Recent Videos
With 'Generative Remove,' users can highlight an area of an image they want to remove (think of it like the heal tool on steroids) and then let Adobe's AI tools take their best stab and artificially create something that passes for real.
Original image with a yawning person over the subject's shoulder.
Image credit: Adobe
Image after 'generative remove' is used to remove a person in the background and create an artificial street scene where they were.
If you've used generative fill on Photoshop or seen one of Google Pixel's Magic Eraser commercials, you have a pretty good idea of what to expect. Adobe says 'generative remove' for Lightroom is built on its first imaging model from last year, not 'model 3,' which was announced more recently.
'Lens Blur' is another AI-driven tool coming to Lightroom. With this tool, Lightroom users can generate a depth map and apply artificial depth of field. Users can apply varying levels of depth and the tool is also capable of introducing bokeh that mimics out-of-camera photography. The idea is that users can take a portrait shot at F22 and make it look like F3.5.
Both Generative Remove and Lens Blur are non-destructive edits, and Adobe says files altered by these tools will be automatically labeled using Content Credential tools from C2PA and CAI.
Also announced, updates to Lightroom mobile's interface and Lightroom Classic gains expanded tethering support for several Sony cameras.
Availability
Generative Remove is available immediately as an 'early access' feature in Lightroom versions for desktop, mobile, iPad, web and Lightroom Classic.
Lens Blur, which was previously in 'early access,' is now included as a standard feature in the latest versions of Lightroom across the aforementioned platforms.
Press Release:
Adobe Unveils Firefly-Powered Generative Remove in Lightroom for Fast and Easy AI-Editing Across Surfaces
SAN JOSE, May 21 2024 – Today, Adobe (Nasdaq:ADBE) unveiled Generative Remove in Adobe Lightroom, bringing the magic of Adobe Firefly directly into everyday photo editing workflows across Lightroom mobile, web and desktop surfaces. Generative Remove is Lightroom’s most powerful remove tool yet, giving everyone the power to remove unwanted objects from any photo non-destructively in a single click by intelligently matching the removed area with pixel perfect generations for high-quality, realistic and stunning results. From removing distractions in family photos, to empowering professionals with speedier retouching workflows and more fine-grain control, Generative Remove empowers exciting capabilities for all photographers. Generative Remove is available today as an early access feature across the Lightroom ecosystem for millions of users.
Today, Lightroom’s AI-powered Lens Blur tool is now generally available with all-new presets, empowering everyone to achieve aesthetic blur effects on any photo in a single click. Combined with Lightroom’s world class photo editing tools, these latest features speed up everyday workflows for pros and give new photo editing superpowers to hobbyists so everyone can bring to life amazing photos.
“Whether you’re a hobbyist or a pro photographer, everyone wants to be able to quickly and easily edit their photos on the go,” said Ashley Still, senior vice president and general manager, Creative Cloud at Adobe. “We’re excited to bring the magic of Firefly to Lightroom’s millions of users – so they can live in the moment knowing they have the most powerful tools to edit, manage and share anywhere they are.”
Photo Editing for Everyone
Accessing Generative Remove is as easy for Lightroom users as cropping a photo or adding a preset. Generative Remove is helpful for editing even the most complicated backgrounds and surroundings including removing stains from a patterned shirt, wrinkles of a tablecloth in food photography, unwanted reflections in water and more. From removing distractions in travel photos, to empowering even more seamless retouching capabilities for pros, Generative Remove empowers everyone with new creative possibilities and saves time to focus on what they do best – bringing their creative visions and work to life. Adobe is engaging closely with our community while Generative Remove is in early access to continue to get feedback from the photography community, advance the model and expand the capabilities of Generative AI in the Lightroom ecosystem.
Empowering Everyone to Edit with Speed and Ease
New tools available in Lightroom today empower users of all skill levels from hobbyists to pros to edit photos from anywhere and any device faster, easier and more intuitively than ever before:
Lens Blur, now generally available, seamlessly adds aesthetic blur effects to any part of a photograph in a single click and now includes all-new automatic presets;
Expanded tethering support for new cameras including the latest Sony digital cameras – such as the Alpha 7 IV and Alpha 7R V – provides access to photos in Lightroom Classic in real-time, delivering time saving on everyday editing workflows and enabling better collaboration across teams;
HDROptimization, used already across tens of millions of images, enables anyone capturing photos to edit and export their photos with brighter highlights, deeper shadows and more vivid colors, as seen in real life;
Instant access to photo libraries in Lightroom mobile and desktop apps empowers faster editing than ever before;
Lightroom’s all-new mobile editing experience streamlines the mobile toolbar to prioritize the most popular features, while making it faster and more intuitive to edit.
Powered by Adobe Firefly
Firefly has driven an unprecedented community response and has been used to generate over 8 billion images worldwide across Adobe creative tools since its initial debut in March 2023. Generative Remove is powered by Firefly, which was made with creators, photographers and designers in mind. Firefly is trained on licensed content, such as Adobe Stock and is designed to generate content for commercial use that does not infringe on copyright and other intellectual property (IP) rights such as trademarks and logos. The deep integration of next-generation AI powered by Firefly across multiple of Adobe’s core tools uniquely enables new creative workflows that supercharge creativity with precise creative control.
Commitment to Responsible Innovation
Adobe is committed to developing AI in accordance with the company’s AI Ethics principles of accountability, responsibility and transparency. As AI becomes more prevalent in content creation, Adobe believes that it is important to provide consumers with transparency about its use in the creative process. A recent study from Adobe showed that 76% of U.S. consumers emphasized the importance of knowing if online content is generated using AI.
When Generative Remove becomes generally available, Content Credentials will be automatically attached to photos edited with the feature in Lightroom. With this launch, combined with C2PA-compliant cameras from Sony, Leica, Nikon, Canon and Fujifilm, Adobe is moving closer to enabling users to maintain a chain of trust by attaching Content Credentials to their content, ensuring authenticity from point of capture through editing to publication.
Like a “nutrition label” for digital content, Content Credentials are tamper-evident metadata that can provide important information about how digital content was created, modified and published. Credentials are built on the C2PA open standard and supported by the Adobe-led Content Authenticity Initiative (CAI), which was founded in 2019 to increase trust in the digital ecosystem. Today, the CAI has grown into a global coalition of over 3,000 members across tech, policy, media companies, creative professionals, researchers and more, all working together to add transparency to digital content.
Powerful ability to remove anything with one touch:
Brand-new feature to help users generate significantly improved removal results, powered by Firefly technology.
Smart enough to replicate the background behind removed items, matching complex patterns like paisley shirts or ripples in water to ensure no smudges, distortions, or dark spots are left behind.
More realistic results, less work needed to get the ideal result, and less precision is needed in the selection
Lens Blur
Pro Quality photos in just one click:
No longer need a special lens, a specific phone, or the right setting to achieve the popular blurred look
Blur any part of any photo.
7 new Lens Blur presets automatically apply blur on portraits, cityscapes, and street/urban photography
Create a preset of a Lens blur effect you like and apply it to more photos in the future
Additional information on the latest Lightroom release:
The Sony a9 III is the company's latest high-speed pro sports camera. It features a Stacked CMOS sensor capable of shooting at 120 fps and able to capture all its pixels' data simultaneously: the long hoped-for 'global' shutter.
Key features
24MP global shutter Stacked CMOS sensor
High speed shooting up to 120 fps
Pre-burst capture of up to 1 sec before the shutter is fully pressed
Shutter speeds up to 1/80,000 with flash sync across the full range
9.44M dot (2048 x 1536px) OLED viewfinder with 0.9x magnification
2.0M dot rear LCD with tilting cradle on a fully articulated hinge
The a9 III is available now at a recommended price of $6000. This is a $1500 increase over the previous iteration from 2019. A matching VG-C5 battery grip that provides space for two batteries is available for an additional $398.
May 21st: Autofocus and action photography, Video, Conclusion and Review samples gallery added.
What's new
Global shutter sensor
The big news with the a9 III is the move to a sensor that offers a global electronic shutter: ending the exposure for all its pixels simultaneously so that there's no lag or rolling shutter effect. Such sensors have existed before (some CCD chips, for instance), but this is the first one to use a full-frame sensor in a modern mirrorless camera to deliver the full potential benefits.
The sensor delivers the camera's two main selling points: the global shutter, which extends what the camera can offer in three specific areas, and sheer speed. As well as having no motion distortion from its capture, the a9 III is able to shoot at up to 120 frames per second.
Its fast readout also allows incredibly high speed capture, with shutter speeds that extend to 1/80,000 sec. The global readout also means it can sync with flashes all the way up to its maximum shutter speed (though the power of the flash will be reduced at the very shortest exposures and may require the timing of the flash trigger signal to be fine-tuned so that the exposure syncs with the brightest point of the flash output).
There are downsides to the sensor, though: the global shutter design works by using what is effectively a second photodiode within each pixel to act as a buffer: holding the charge generated by the exposure so it can all be read out later. This reduces the effective size of the photodiode used to capture the image, reducing the amount of charge each pixel can hold before it becomes full.
This reduced capacity for charge means the pixel becomes saturated sooner, so it can tolerate less light before clipping. In turn, this means it needs to be given less exposure, which is reflected in the base ISO of 250, 1.3EV higher than typical. Giving a sensor less light instantly reduces the image quality, because light itself is noisy, and this noise is more visible, the less light you capture.
120fps shooting
The new C5 button on the front of the camera is set, by default, to activate the speed boost function for temporary access to 120 fps shooting.
The super-fast sensor readout allows the a9 III to deliver a faster shooting rate than we've ever seen from a sensor this large. Whereas the previous generation of Stacked CMOS sensors with progressive readout would shoot at up to 30 frames per second, the a9 III quadruples this to 120. Sony has published a list of its lenses that can operate at this full speed.
It's a reasonable question to consider how often even the most demanding sports photographers will need to shoot at 120 frames per second, and how much more sorting and selecting work will be created by generating so many additional files.
You can lower the burst rate to whatever makes the most sense for your specific subject, but there's also an option to temporarily jump back to a faster rate when you hold a button down, meaning you could shoot at, say, 30 fps in the buildup to what you expect to be the critical moment, then press a custom button to give a faster, more concentrated burst around the moment of interest itself.
Like the other recent high-end Sonys, the a9 III has a pair of CFexpress Type A and UHS-II SD card slots set one within the other, providing compatibility with both the widely available SD format or the faster CFexpress format. Both are still significantly slower than the CFe Type B cards adopted by most other manufacturers.
Interestingly, the a9 III continues to use Sony's preferred CFexpress Type A cards, which have half the read/write channels of the larger Type B format. This means the a9 III has to depend that bit more heavily on its internal buffer. It has the capacity to shoot 196 uncompressed 14-bit Raw files in a burst, allowing 1.6 seconds of capture at its fastest rate. This is nearly 10GB of data, which gives some idea of the size of the camera's buffer but also of how quickly you'd fill up your cards if you shot at full tilt in Raw.
Pre-capture
The a9 III becomes the first Sony to have a pre-capture feature: starting to buffer images when you half-press the shutter button or hold the AF-On button, then retaining up to one second's worth of images when you fully press the shutter. You can reduce the time period to as little as 1/200 sec if you're really confident in your ability to anticipate the crucial moment, but the pre-buffer time isn't affected by your choice of shooting rate.
Dedicated 'AI' processor
The a9 III gains the 'AI' processor that Sony first introduced in the a7R V. This does not add any 'intelligence' or learning in and of itself, but is designed to process the complex subject algorithms created by machine learning for functions such as subject recognition. This should boost the camera's subject recognition performance compared to previous generations of cameras, such as the a1, making the tracking more responsive and more robust.
8EV image stabilization
The a9 III gets the flexible tilt-and-hinge cradle we previously saw on the a7R V. It can be manipulated into all sorts of positions, for wherever you're shooting from.
The a9 III also gains the latest image stabilization processing algorithms, helping it deliver performance that's rated at up to 8.0EV of correction, using the CIPA standard methodology. This is an appreciable increase over the 5.5EV offered by previous generations of cameras. Unlike Canon's system, this doesn't depend on synchronized use of in-body and in-lens IS mechanisms, so users should see an increase in correction performance over a wide range of lenses, though the peak correction may not be quite so well maintained at extremely long and short focal lengths.
C2PA authentication
Although not present at launch, Sony says it plans to add C2PA authentication to the a9 III. This is a cryptographic metadata standard developed by a range of software makers, camera makers and large media organizations that will provide a secure record of the file's provenance and edit history, allowing media organizations to know that the images they are receiving can be traced back to a specific camera and haven't been inappropriately manipulated.
How it compares
With its high shooting speed and pro-friendly features, the a9 III's closest competitors are the pro sports bodies from Canon and Nikon, as well as Sony's own a1. This is an exclusive group, not only in the sense of commanding a significant price but also in that they have professional support networks established to ensure working pros have the most possible 'up' time. While other cameras promise fast shooting and capable autofocus, these are the models that the most demanding professionals rely on.
Sony a9 III
Sony a1
Canon EOS R3
Nikon Z9
MSRP
$6000
$6500
$6000
$5500
Pixel count
24MP
50MP
24MP
46MP
Sensor type
Stacked CMOS (Global shutter)
Stacked CMOS
Stacked CMOS
Stacked CMOS
Max burst rate
120fps
30fps
30 fps 196 fps** (AE/AF fixed)
30fps (JPEG) 20fps (Raw) 120fps (11MP JPEG)
Pre-capture?
Up to 1 sec
–
–
JPEG only
IS rating (CIPA)
Up to 8.0 EV
Up to 5.5EV
Up to 8.0 EV
Up to 6.0EV
Base ISO
250
100
100
64
Max ISO
51200
102400
204800
102400
Max shutter speed
1/80,000
1/32,000 1/8000 mech
1/64,000*** 1/8000 mech
1/32,000
Flash sync
1/80,000
1/400
1/250 EFCS 1/200 Mech 1/180 Elec
1/250
Viewfinder res / size / eyepoint
9.44M dots 0.9x 25mm
9.44M dots 0.9x 25mm
5.76M dots 0.76x 23mm
3.69M dots 0.8x 23mm
Refresh rate
Std: 120 fps High: 240 fps
Std: 60 fps High: 120 fps H+: 240 fps*
Power save: 60 fps Smooth: 120 fps
Std: 60 fps High: 120 fps
Rear screen
2.0M dots fully articulated on tilt cradle
1.44M dots tilting
4.15M dots fully articulating
2.1M dots, two-way tilt
Max video res
4K up to 120p MOV
8K/30 UHD MOV
6K/60 DCI Raw 4K/120 DCI/UHD MOV
8K/60 Raw 8K/30 DCI MOV
Media
2x CFexpress Type A / UHS II SD
2x CFexpress Type A / UHS II SD
1 CFe Type B 1 UHS II SDq
2x CFe Type B / XQD
USB
10Gbps
10Gbps
10Gbps
5Gbps
CIPA Battery life (LCD / EVF)
530 / 400
530 / 430
760 / 440
740 / 700
Weight
702g
737g
822g
1340g
Dimensions
136 x 97 x 83 mm
129 x 97 x 81 mm
150 x 143 x 87 mm
149 x 150 x 91 mm
*Viewfinder res and display size are reduced **AF and AE locked, in bursts of up to 50 images. ***Whole stop increments only between 1/16,000 and 1/64,000
The a9 III stands out, even from the other manufacturer's pro-grade cameras, in offering 120 fps shooting as a standard mode, with full AF and Raw capture, whereas Canon's R3 locks AF and AE at the first exposure (rarely ideal for the kinds of action shooting that require high speed bursts) and the Nikon outputs significantly reduced resolution JPEGs.
Like the EOS R3, the a9 III opts for speed over resolution, meaning it can't deliver the 8K footage that the a1 and Z9 can. Also, any users hoping for Raw video will need to buy an external recorder, rather than being able to capture this in-camera, as you can on the Canon and Nikon.
The biggest apparent shortcoming is the relatively low battery life of the a9 III, as it's a single grip camera and hence lacks the space for the larger batteries included in the Canon and Nikon. Adding the BG-C5 battery grip adds space for a second battery, as well as providing duplicate portrait orientation controls.
Body and handling
Although the company's a7, a9 and a1 models all look similar, each generation has seen the control layout reworked and details such as the handgrip tweaked. The a9 III sees a larger than typical re-working of Sony's ergonomics.
The grip is a little deeper, with a more prominent dent for the middle finger to rest in, but more significantly, the shutter button is placed on a surface that angles forward rather than sitting in the same plane as the camera's top plate. This means you don't have to rotate your hand or stretch your finger quite so far to reach the shutter. In turn, the custom buttons on the camera's top plate have been extended upwards so that they're still accessible from this less stretched position.
It's a relatively small adjustment but enough that you'll notice it after several hours of shooting. Given the a9 III's target audience, it's hard not to make assumptions that this change has been made in response to Sony's tie-up with the Associated Press, giving the company more feedback from a large pool of working pros.
Beyond this, the body is pretty familiar from the previous generation of cameras, with most of the control points and custom buttons existing in the same places. The main exception to this is that the a9 III gains a fifth custom button, on its front panel. By default, this is used for the 'speed boost' function, but this can be modified.
The a9 III has the same 9.44M dot (2048 x 1536px) OLED viewfinder that first appeared in the Sony a1. The optics in front of the panel give an impressive 0.9x magnification, meaning it's very large to look at, and the fast sensor means its full resolution is used even when refreshing at 120fps. There's a 240fps mode if you need an even more frequent update of what's going on in the scene, but this runs at a reduced resolution. The viewfinder shows no blackout at all when shooting images.
The rear screen is a 2M dot panel that's arranged on a tilting cradle that is itself hinged at the side, providing a wide range of movement and adjustment.
The a9 III uses the same NP-FZ100 battery as all the most recent full-frame cameras have. It's a well-sized 16.4Wh unit that powers the camera to a rating of 530 shots per charge, using the rear LCD according to CIPA standard tests. This drops to 400 shots per charge if you use the viewfinder. These are strong numbers compared to most cameras but some way behind those of its pro sports peers, which typically have a twin-grip body with space for a much larger battery.
Battery life can be increased significantly through the addition of the optional VG-C5 vertical grip. This adds the space for a second FZ100 and more than doubles the battery life, as Sony has developed a system for treating the two batteries as a single large power source.
It's also worth noting that the CIPA standard tests are even less reflective of the behavior of pro sports cameras than they are elsewhere. Bursts of images use much less power than the individual shoot-and-review process that standard testing assumes. As such, a rating of 400 shots per charge for a camera that shoots at 120 frames per second should not be taken to mean that the battery will only last for 3.3 seconds of holding the shutter down. This is nowhere close to being true.
Image quality
Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.
Image Comparison
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We've looked at the a9 III's image quality and have found that its performance is up to a stop behind those of contemporary full-frame cameras. Essentially the halving of the photodiode size halves the amount of light the sensor can tolerate. This raises the base ISO, limiting the maximum image quality the camera can deliver (ie: comparing base ISO to base ISO).
The added complexity of the sensor's design also means that it isn't able to offer a second low-noise readout path as has become common in dual conversion gain sensors that dominate the market. This sees up to a stop noise penalty, relative to its full-frame peers.
All of that said, a lot of sports shooting doesn't necessarily happen at ISO 100, so being limited to ISO 250 or higher needn't be a major issue (the a9 III isn't at any disadvantage, compared to its peers when shooting at moderate ISOs). Likewise, even something approaching a one-stop increase in noise at high ISO isn't likely to be a deal-breaking difference, especially if the a9 III's global shutter and incredibly rapid burst rates mean that it can get a shot that its rivals simply miss.
So, while the a9 III's sensor tech may not make as much sense in other cameras, for the high-speed users it's designed for, these aren't necessarily a significant drawback.
The a9 III proves capable of sticking to subjects despite rapid changes in speed and direction. ISO 2500 | 1/640 sec | F2.8 | Sony FE 70-200mm F2.8 GM II | Processed and cropped from Raw Photo by Carey Rose
Being Sony's most sports-focused flagship, it should come as no surprise that the a9 Mark III comes with outstanding autofocus performance across almost any situation you might think to put it in. Of course, no camera can fully substitute for a photographer's given experience and skill, but the a9 III gives you a high chance of success for your action-photography endeavors. It certainly netted this photographer plenty of keepers, under varieties of bright, dim, natural and artificial light.
If you've used any of Sony's recent camera bodies, the a9 III's autofocus interface will be familiar. You get a standard array of autofocus areas, as well as 'Tracking' equivalents of most of them. While you can certainly choose a static AF area and manually follow your subjects yourself with a very high hit-rate, much of the technology in the a9 III is designed to support its own tracking and subject recognition algorithms, so that's principally what we put to the test.
Autofocus setup
For general reportage and lifestyle shooting, I tended to keep the a9 III in one of its 'Flexible Spot: Tracking' modes, which works impressively well. In essence, you can choose your starting AF area size (small, medium or large), and then place that area over your intended subject and initiate tracking with the shutter or AF-On button.
Shooting rugby with the a9 III turned out to be an impromptu weather-sealing test as well. (The camera survived just fine.) ISO 4000 | 1/320 sec | F2.8 | Sony FE 70-200mm F2.8 GM II | Processed from Raw Photo by Carey Rose
This tracking sticks to your subject tenaciously even if it's not necessarily identifying it as a subject such as a bird or a plane. The a9 III will follow anything around the frame, like a flower, or a portion of someone's clothing, allowing you to experiment with composition while the camera keeps your chosen subject in focus. If you happen to initiate tracking over a person's face, the camera will automatically track their eyes if you have face and eye priority enabled. Use this technique for casual shooting and you'll basically never get an image out of focus (a hallmark of Sony cameras for a couple of generations now).
I found, however, that this wasn't my preferred method of photographing sports and action.
When I tried to work this way with team sports, the camera would often latch onto a player's arm, or portion of their uniform, or really whatever bit of them I could catch in the viewfinder and initiate focus on. And often, their face would be just noticeably outside the plane of focus.
For less active subjects, you don't need to do too much tweaking with the a9 III's autofocus. And it does, of course, pick up cats in its 'Animal' subject detection mode. ISO 2000 | 1/250 sec | F2.8 | Sony FE 70-200mm F2.8 GM II | Processed and cropped from Raw Photo by Carey Rose
So off I went to the camera's 'Custom' tracking AF areas, and dialed-in a tall, narrow rectangle that I could then move around the frame as I saw fit. I also programmed the camera to alter my AF area when I switched to portrait shooting orientation, so the rectangle would remain vertically oriented regardless of how I was holding the camera. In essence, I made my AF area the rough size and area of a human player or torso in the frame. Finally, I also instructed the camera to prioritize the tracking of human faces and eyes, if it could find them.
What this gave me was the ability to quickly identify which player I wanted the camera to track, after which the camera would reliably and quickly identify the player's eyes or face, and I could focus on following the action.
The custom AF area option, combined with my subject recognition settings, meant that the camera was able to reliably follow a player's face or eyes and I didn't have to worry about perfectly initiating tracking on their face at 250mm of zoom. ISO 16000 | 1/400 sec | F6.3 | Sony FE 200-600mm F5.6-6.3 G | Processed / cropped from Raw Photo by Carey Rose
Another setting I ended up experimenting with that netted me further keepers was slowing the camera's default response to other subjects passing between me and the player I was following. I found it would too quickly jump off to other subjects in its default setting, for the sports I was shooting. I reduced this sensitivity, referred to in the camera as "AF Lvl for Crossing", by one notch and found that to be a sweet spot.
Slowing the camera's default tendency to jump off to other subjects was especially helpful in shooting Ultimate Frisbee, where other players are frequently coming between you and your subject. ISO 250 | 1/500 sec | F6.3 | Sony FE 200-600mm F5.6-6.3 G | Processed from Raw Photo by Carey Rose
But as stated at the outset, sophisticated tracking algorithms aren't a panacea. The camera did an impressive job in spite of my less-than-perfect technique, but there were situations where I would be acquiring focus as two players overlapped, and the camera might track the unintended player.
Or I'd smash the shutter, attempting to drive focus to the correct point as well as start firing off a burst of shots, just as I spotted a crucial moment happening. The camera would often, amazingly, find correct focus, but I would occasionally get short bursts of out-of-focus images in these rushed scenarios. The blame for this result in these types of edge cases can hardly be laid at the camera's feet, though. You simply need to be realistic with your expectations and consider your own technique and reaction time accordingly. Even with a pricey sports flagship.
Other action photography considerations
Another of the headline features on the a9 III is its 120fps burst shooting mode. While I was reticent to use this swiftest shooting speed that often due to the sheer amount of data it produces, I appreciated the option for a custom button to enable this burst speed only when held.
It works very well in practice and is eminently useful when set up this way; I've found that 10-20fps is my sweet spot for most sports, but for certain moments, I boosted the camera to 120fps and enjoyed having the extra options to choose from.
ISO 8000 | 1/500 sec | F2.8 | Sony 70-200mm F2.8 GM II | Processed / cropped from Raw Photo by Carey Rose
Take the above image, for example. The 120fps burst option allowed me to have a large degree of control in the final image over where the ball is in the air in relation to the player. It's a level of nit-pickiness that I can understand and respect, but I also think 20-30fps is realistically the maximum most people need most of the time.
In terms of displays, I appreciate the array of options relating to viewfinder speed and size, but I have to admit that I tended to keep the viewfinder out of its fastest setting, even for the most demanding sports. The resolution just drops too dramatically, to the point where it was difficult to tell if focus on a distant player was even accurate.
If you crave the most speed on the market and want some of the most reliable autofocus around, the a9 III is a slam dunk. Or at least a stylish layup. ISO 3200 | 1/640 sec | F2.8 | Sony FE 70-200mm F2.8 GM II | Processed from Raw Photo by Carey Rose
I also found that battery life was on the short side of my expectations, and while I never ran out, I found myself feeling motivated to turn the camera off and on again more often than I'd like during a given event. That said, I fully expect (and would recommend) that anyone looking at the a9 III should be budgeting for the battery grip. Not only do you get double the battery life, but I find it a necessity for shooting vertical, telephoto images handheld.
Autofocus summary
The a9 III is unquestionably a capable, high-performance autofocusing machine. Its subject tracking is seriously impressive, locking onto my intended subjects immediately and tracking them steadfastly. Put simply, if you find that you can't get the shot with the a9 III, I wouldn't necessarily look to blaming the camera first.
This is one of the situations where I swung the camera around, smashed the shutter with the camera still in motion, and captured an acceptably in-focus (though perhaps slightly motion-blurred) burst of images. It's hard to ask for a better result under those circumstances. ISO 500 | 1/1250 sec | F5.6 | Processed and cropped from Raw Photo by Carey Rose
As capable as the camera is, it's also highly customizable, and you will absolutely benefit from some experimentation and dialing in preferred settings for the way you work and the subjects you shoot. This isn't a knock against the camera, just a fact of life for all sports camera flagships to varying degrees. And though I do expect AI-trained automatic modes will continue to improve, there must always be some method of your intentions about subject matter reaching the camera's processor, and so some customization will likely remain necessary for the foreseeable future.
As it stands, if you're after some of the best autofocus performance money can buy and also want the fastest burst shooting we've seen in a full-frame camera to date, the a9 III is a compelling option and worthy of your consideration.
Video
Putting the a9 III's fully articulating screen out on a tilting cradle means that it can be extended and rotated completely clear of the mic, headphone and HDMI sockets on the camera's left flank.
The a9 III's global shutter has major implications for video shooters as well as stills photographers. Being able to end the entire frame's capture simultaneously means it doesn't exhibit any rolling shutter artefacts at all. So there's no risk of warped verticals with moving subjects and no risk of banding when shooting under uncontrolled artificial lighting.
It's worth noting that while the a9 III's sensor can end its exposure instantaneously, this doesn't mean it can read-out its sensor as immediately. It's still quick enough to allow 4K/120 footage to be created from 6K full-width capture, though, making it one of the fastest hybrid cameras on the market.
Its video feature set is consistent with recent Alpha models, meaning it can shoot 10-bit video in H.264 (long GOP or All-I) or H.265 codecs. It can also shoot small proxy versions of its video in parallel with the main clips, for quicker editing and can output raw data over its HDMI socket if you have an external recorder to capture it.
The a9 III offers the Auto Framing option that uses subject recognition to crop-in and follow a subject within the frame, allowing a single presenter/operator to capture more dynamic video. There's also breathing compensation, which works with Sony's own-brand lenses, cropping in to the tightest angle of view that the lens offers and then adjusting the crop to remove the change of framing that would otherwise happen as the lens changes focus distance.
On top of this, the a9 III delivers some of the most dependable video autofocus we've seen. As with most cameras you can adjust the speed at which the focus is driven, depending on whether you're trying to tightly maintain focus on a constantly moving subject or smoothly drift between different focus distances. Taken together these features make it relatively easy to shoot good-looking footage with the a9 III even if your background isn't in video.
What the a9 III lacks is many of the videographer-focused features present in Sony's video line. So there's no option to set exposure in terms of shutter angle, rather than shutter speed (something that would be really valuable on a camera that can shoot 4K/120 as readily as it can 4K/24). There are no waveform displays or vectorscopes and no option to use the EI exposure system, rather than ISO.
You do get the attractive, low contrast S-Cinetone color profile, though, and when shooting in Log, you can upload up to 16 LUTs which you can use to give you a corrected preview, with the option to embed the LUT alongside the footage, or directly apply it to your footage in-camera.
Overall it's a flexible, capable video camera but one that seems careful not to tread on the toes of models aimed more pointedly at videographers.
Conclusion
Only time in the hands of a large number of pro photographers will test how much value 120 fps capture with no risk of banding is, but historically faster has proven to be better, even when the current level of performance has let people get results.
What we like
What we don't
Incredible speed in stills and video
Impressively flexible and reliable autofocus system
Global shutter extends photographic capabilities [Flash Sync]
No viewfinder blackout during burst shooting
Refined, comfortable ergonomics and flexible customization options
Flexible screen mechanism
Good range of tools for pro workflows
Relatively small body for photojournalism work
Option for brief 120fps burst adds flexibility
Base ISO of 250 blunts absolute IQ capabilites
Performance at highest ISOs falls a behind its peers
Battery life can be a concern in highly demanding shoots
Viewfinder can't utilize full resolution at faster frame rates
The a9 III is an undeniably ground-breaking camera. The global shutter sensor, which lets it start and end exposure for all its pixels simultaneously, means electronic shutter with no concern about strobing advertising boards, zero rolling shutter in video and the ability to sync flash at incredibly high speeds with no blackout of the viewfinder. Then there's the ability to shoot at up to 120 frames per second: not something a lot of people will need to do all the time, but a capability that will undoubtedly expand photographers' options.
All of this is allied to what's probably the most capable autofocus systems we've yet encountered, with highly reliable tracking being at least as relevant as the en vogue subject recognition modes it gains. Top-level sports shooting will require a degree of behavior tuning, as different sports and shooting styles require different responses, but we were hugely impressed by the hit rates we got from the a9 III.
The provision of a LAN socket and full-sized HDMI port show that Sony wants the camera to fit readily into professional workflows, and the camera will ultimately succeed or fail on that basis.
It's not an unalloyed success, though. We found the fastest, most sports-friendly viewfinder mode gave up too much resolution to be confident in the camera's focus. And Sony's decision to use a single grip design for its sports and photojournalism cameras is being challenged by the greater power consumption of its newer models: we expect and would recommend the a9 III will be used with a battery grip in many circumstances.
We have fewer concerns when it comes to image quality. The a9 III's relatively high base ISO means it can't match the IQ of its direct rivals at their peak performance, but as soon as your shot requires ISO 250 or higher, the a9 III's added speed gives it the edge. Likewise, whereas it falls a little behind in side-by-side comparisons at higher ISOs, there are likely to be situations in which the a9 III captures a fractionally noisier version of a photo that another camera might simply miss.
Ultimately the a9 III sets a new standard for what we can expect from a pro sports camera, and Sony appears to be adding the workflow features that the most demanding pros are requesting. There are some trade-offs being made to deliver the a9 III's super-fast capabilities but taken as a whole they allow it to pull ahead of the field.
Scoring
Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Sony a9 III
Category: Professional Interchangeable Lens Camera / DSLR
Build quality
Ergonomics & handling
Features
Metering & focus accuracy
Image quality (raw)
Image quality (jpeg)
Low light / high ISO performance
Viewfinder / screen rating
Optics
Performance
Movie / video mode
Connectivity
Value
PoorExcellent
Conclusion
The a9 III pairs the fastest full-frame sensor available with the most dependable AF system and an increasingly sophisticated set of professional workflow tools. There's a slight image quality price to be paid for this speed but it's minor in comparison to the performance the camera brings, overall.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
All gallery images are uncropped out-of-camera JPEGs with accompanying lossless-compressed Raw files.
Every week, we ask newsletter subscribers a question about gear, creativity or life. We recently asked readers: If you could only pick one lens for the rest of your life (yes, only one), what would it be and why?
Recent Videos
We got some insightful, unusual and snarky responses to the prompt. The idea of having a single lens for everything you'd ever want to do is challenging, but that's also what makes it a fun debate.
Here are three of our favorite responses:
1. Nikon 16-80mm F2.8-4.0
A reader wrote: "Nikon 16-80mm F2.8 for everyday shooting: people, scenery, nature, sports. It sits on my Nikon D500. It’s fast, sharp and adaptable ... in my opinion, an underrated Nikon lens and is not expensive to purchase."
2. Fujifilm 150-600 F8
A reader wrote: "I have been a keen photographer for over 50 years and after a lifetime of using Nikon, Canon and Hasselblad cameras, I have now settled on Fuji cameras ... My favorite lens is currently the Fujifilm 150-600 F8. (It is) both light and optically excellent, enabling me to carry the lens further and use it hand-held in most situations."
3. Kit lenses for the win?
A reader wrote: "My favorite lens is actually two kit lenses that came with my Nikon Z30. The Z DX 16-50mm 3.5 and the Z DX 50-250mm 4.5 are all I could ask for right now ... Both lenses, paired with my Z30, produce photos that astound me every day. I hope to get a 2X extender for wildlife close-ups."
What's your take? Let us know in the comments.
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Update: When some random editor emails the Sigma Public Relations person, who has no clue what is going on in Japan, and tells you that the lens is not discontinued, you have to ask yourself: why are all those stores not willing to a list and sell a $25k lens? Do you think B&H will remove the listing of a $25k lens if they have the chance to sell one? But this is what happens when you get random people who have no clue how the industry works and make them "editors". How clueless you must be to believe what a company's PR person is telling you? Remember Olympus?
The lens was initially announced in April 2008. The end of an era (the DSLR era).
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